Rivette and Couperin

Irrelevant Reviews
#3
La Religieuse (1966)
(Or Lace, Lesbians & Leçons de ténèbres: A Sequence of Unfortunate Events.)

In a bleak adaptation of Diderot’s novel completed in 1780, a family from the petty aristocracy dooms their daughter Suzanne to a life in the church to which she openly does not consent. She’s apparently drugged before taking her vows (which she later does not remember), and her first convent is run by a sadistic Mother Superior who is bent on crushing Suzanne through starvation and psychological torture. A lawyer intervenes, and Suzanne is transferred to another (less strict) convent, only to the sexual obsession of the abbess. Another rescue attempt by a priest turns into yet another nightmare as he attempts to rape her. She escapes, but is unable to support herself except through work as a prostitute, leading her to throw herself off a balcony at the very end of the film. (This flick is no way, shape or form, an uplifting watch.)

Musically, it’s interesting to hear how conscious Rivette’s team was of historical specificity with regards to 18th Century French music (especially for a film made in 1966). One can hear the famous “Jod” sequence from Couperin’s Troisieme leçon de ténèbre as Suzanne describes Holy Week celebrations, and the passage of time in various abbess’s chambers include the playing the spinet, where we hear two nuns playing Rameau’s Le rappel des oiseaux.

Direction: Jacques Rivette
Music: Jean-Claude Éloy
Starring: Anna Karina, Liselotte Pulver


Depardieu and Dutilleux

Irrelevant Reviews
#1
Sous le soleil de Satan (1987)

Highly recommended for those with a love for: (1) creepy mysticism, (2) Gérard Depardieu, and (3) the music of Henri Dutilleux (extracts from his First Symphony).

Films about crises of faith can be trite and easy, bartering in tropes of devout individuals who restore confidence in their own sensibilities rather than in someone upstairs. Such is not the case in Pialat’s adaptation of Bernano’s magnum opus, whereby a priest’s obsessive mysticism renders a closeness to God as well as a hypersensitivity to the wiles of evil. The film isn’t really so much about religion, but rather the uncomfortable absence of solace in any human faith, passion or belief when possessed with enough fervor. (There’s a reason it was booed at Cannes.)

Direction: Maurice Pialat
Cinematography: Willy Kurant
Music: Henri Dutilleux
Starring: Gérard Depardieu, Sandrine Bonnaire